For many people, the words 'Bach' and 'Yorkshire' used in the same sentence
evoke images of huge choral societies performing the B Minor Mass and the
Passions at a dirge pace and accompanied by a full symphony orchestra. In
fact, Yorkshire is also the home of the York Early Music Festival, of the
excellent York University Music Department, and of the Yorkshire Baroque Soloists.
Judging by the number of London-based players in the orchestra, I'm assuming
the Yorkshire Baroque Soloists is a professional part-time ensemble. I suspect
there is some institutional link with York University, where this was recorded
and where all of the soloists seem to have studied, but the liner doesn't
go into detail.

Their St John Passion is an impressive recording. Orchestra, choir
and soloists all deliver secure performances, and there are some moments of
real beauty. In terms of performance conventions, we are looking at a period
instrument orchestra of 14, a choir of 20 and three soloists, with smaller
parts taken by singers from the choir. The pitch is A=415hz and the continuo
organ is tuned to Valotti temperament. Tempos are in the range of moderate
to brisk, but there are no radically fast choruses. The continuo accompaniment
is solid and largely undecorated.

The opening chorus, which is really the only chorus in the work, puts the
performers through their paces. Both choir and orchestra come through clearly
in the audio, with plenty of detail if perhaps a slight lack of presence.
The balance of the choir is good, although the tenors struggle a little to
compete. In the orchestra, the ensemble of the strings is excellent, but woodwind
are the real stars, their individual woody colours mingling beautifully in
the introductions and obbligato accompaniments.

Elsewhere, the choir excel in their hushed chorales, which are low key without
being unduly restrained - simple but effective. The soloists are an ideal
combination, their voices distinctive but complementing each other well. Stephen
Logue comes close to stealing the show as Pilate, and the sweetness of his
tone in the upper register suggests his potential is not limited to bass roles.
Charles Daniels is suitably declamatory as the Evangelist; a little more tone
in his recitatives might be nice, but not if it is at the expense of his exemplary
diction.

All round then, an impressive John Passion. In the grand scheme of
things, it may seem a little unadventurous for being middle-of-the-road, interpretively
speaking. But this is a performance that takes on board many lessons from
the history of the period performance movement - with the notable exception
of those from Joshua Rifkin. It has plenty of life and never goes to excesses
of tempo or dynamics to make its point. And it doesn't force any more drama
on the work than it can handle. A coherent, articulate and engaging performance
that balances well the work's twin identities as narrative and contemplation.

Gavin Dixon

A coherent, articulate and engaging performance that balances well the work's
twin identities as narrative and contemplation.